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Auction Description for Swann: 19TH & 20TH CENTURY PRINTS & DRAWINGS

Viewing Notes:

Exhibition & Sale Schedule: Sale 2341 - 19th & 20th Century Prints & Drawings - begins at 10:30am in New York on Thursday, March 6. All material in Sale 2341 on display at our premises in New York City, 104 East 25th Street, as follows: Sat, March 1: Noon to 5pm - Mon, March 3: 10am to 6pm - Tues, March 4: 10am to 6pm - Wed, March 5: 10am to 6pm - No exhibition on day of sale.

Description:
THOMAS ROWLANDSON Nude with a Mirror. Pen and ink and watcolor on paper mounted to cardstock. 277x223 mm; 11x8 3/4 inches. Signed in ink, lower right recto. Ex-collection James Graham & Sons, New York, with the label on the frame back.

Description:
JEAN-FRANÇOIS MILLET Les Glaneuses. Etching on thin, cream laid paper, 1855-56. 190x252 mm; 7 1/2x10 inches, wide margins. Second state (of 3), or an intermediate state between the second and third states (of 3), with the address lower right partially burnished (removing Delâtre's name but not the address). A very good, well-inked impression of this important print. Delteil 12; Melot 12.

Description:
CHARLES JACQUES Study of a Seated Peasant. Black chalk on cream wove paper. Signed in black chalk, lower left recto. Ex-collection the American artist George Innes (1825-1894), according to a note on the frame back.

Description:
JEAN-BAPTISTE-CAMILLE COROT Souvenir d'Italie. Etching and drypoint printed in black on cream laid paper, 1863. 294x220 mm; 11 5/8x8 3/4 inches, full margins. Second state (of 4), with the address of Cadart and Chevalier, lower center, the address of the printer, Delâtre, lower right, and the number upper right. A brilliant, richly-inked impression. Property sold by order of the Trustees of the Philadelphia Museum of Art to benefit acquisition funds. Delteil 5; Melot 5.

Description:
RODOLPHE BRESDIN Le Bon Samaritaine. Lithograph on Chine appliqué, 1861. 650x498 mm; 25 5/8x19 5/8 inches (mount sheet), full margins. Préaud's first state B (of 2), with the "white bird" lower left and before the transfer to another stone in 1868. Edition of approximately 200 lieftime impressions. Printed by Lemercier, Paris, with the address"Imp Lemercier Paris" lower center. A brilliant, early and richly-inked impression of this very important lithograph. Lifetime impressions, such as the current work, are extremely scarce; we locate only 6 other such impressions at auction in the past 25 years. There is also a more common, posthumous edition of approximately 800 impressions. Van Gelder 100; Prélaud 29.

Description:
JAMES A. M. WHISTLER Little Arthur. Etching printed in brown on cream laid paper, 1857-58. 58x48 mm; 2 1/4x1 inches, full margins. MacDonald's fourth state (of 4). From Twelve Etchings from Nature. A very good impression. This etching shows Arthur Haden, Whistler's nephew, the son of his half-sister Deborah and Francis Seymour Haden. It was likely made during the summer of 1857 while Whistler was staying with the Haden's in London, though it was published over a year later in November 1858 as one of the 12 etchings of the "French Set." This portrait and the etching of Annie (Kennedy 10) are the only non-French subjects in the set. Kennedy 9; Glasgow 8.

Description:
JAMES A. M. WHISTLER Bibi Valentin. Etching and drypoint printed in black on light tan Chine collé on cream laid Japan paper, 1859. 152x227 mm; 6x9 inches, full margins. MacDonald's second state (of 2), with the left hand defined and all the additional work completed. A brilliant, early impression with warm plate tone and all the details distinct. Kennedy 50; Glasgow 34.

Description:
JAMES A. M. WHISTLER The "Adam and Eve," Old Chelsea. Etching and drypoint on antique, cream laid paper, 1878. 176x303 mm; 7x12 inches, full margins. MacDonald's third state (of 3), with the artist's butterfly signature in the sky above the tower and with the drypoint shading on the hull of the second boat in from the left. A very good, well-inked impression with strong contrasts. Kennedy 175; Glasgow 182.

Description:
JAMES A. M. WHISTLER Little Putney Bridge. Etching printed in black on cream laid paper, 1879. 131x205 mm; 5 1/8x8 inches, full margins. MacDonald's fourth state (of 5), with the shaded butterfly lower right, and with the delicate lines in the water and some indication of the clouds above the bridge. A very good, richly-inked impression. Kennedy 179; Glasgow 186.

Description:
JAMES A. M. WHISTLER Sketch after Cecil Lawson's "Swan and Iris." Etching and drypoint, 1882. 135x83 mm; 5 1/4x3 1/4 inches, wide margins. MacDonald's sixth state (of 6), with the horizontal drypoint lines extending on the bevel at the plate edge upper left. Strasburg Lily watermark. A superb, richly-inked impression of this scarce etching, with abundant drypoint and burr, notably on the sailboats upper center. The subject was inspired by an unfinished painting by the artist Cecil Lawson (1851-1882), whose widow Constance Lawson was the elder sister of Whistler's wife-to-be, Beatrice. According to MacDonald, this was the only illustration etching Whistler made after the three he produced for the Junior Etching Club in 1861. It was used in Gosse's Cecil Lawson: A Memoir published by the Fine Art Society, London, in 1883. Kennedy 241; Glasgow 247.

Description:
JAMES A. M. WHISTLER The Little Pool. Etching and drypoint on antique, cream laid paper, 1861. 103x125 mm; 4 1/8x5 inches, full margins. MacDonald's ninth state (of 9), with the inscription at the lower edge of the plate removed and before cancellation. Signed with the butterfly in pencil, lower right. Partial coat-of-arms watermark. A brilliant, early, proof-like impression, with abundant burr around the two figures at the left and with all the details distinct. The seated figure sketching to the left is likely a self portrait by Whistler. We have not found another signed impression previously offered at auction. Kennedy 74; Glasgow 79.

Description:
JAMES A. M. WHISTLER Early Morning. Lithotint on cream wove paper, 1878. 165x259 mm; 6 1/2x10 1/4 inches, wide margins. Fourth state (of 4), with the lightening of "the overall tonality of the image," according to Spink. A very good impression. Way 7; Levy 17; Spink 9.

Description:
JAMES A. M. WHISTLER Amsterdam, from the Tolhuis. Etching and drypoint on thin, laid Japan paper, 1863. 135x207 mm; 5 3/8x8 1/4 inches, small (full ?) margins. Edition of approximately only 26. MacDonald's fourth state (of 8), with the rope at the upper left removed but before the tops of the masts in the foreground and most of the lines in the sky are burnished out and before the addition of the butterfly lower right. A superb, richly-inked and early impression of this extremely scarce etching. We have found only 5 other impressions at auction in the past 25 years. Kennedy 91; Glasgow 99.

Description:
JAMES A. M. WHISTLER The Bridge, Santa Marta. Etching and drypoint printed in dark brownish black on cream laid paper, 1879-80. 296x202 mm; 11 3/4x8 inches. MacDonald's ninth state (of 9), with the butterfly lower right and all of the delicate shading distinct, notably the fine diagonal lines on the stern of the boat lower center. Edition of approximately only 30. Signed with the butterfly and inscribed "imp." in pencil on the tab, lower left. From Twenty-Six Etchings. A superb, well-inked impression of this scarce etching, with selective wiping most visible in the foreground water and the left side of the plate. Kennedy 204; Glasgow 201.

Description:
JAMES A. M. WHISTLER The Balcony. Etching and drypoint printed in dark, brownish black on cream laid paper, 1879-80. 293x198 mm; 11 1/2x7 3/4 inches, full margins. MacDonald's sixth state (of 19), with the woman on the steps reworked but before the redrawing of the upper steps. Edition of approximately only 30. From Twenty-Six Etchings. A very good impression with warm plate tone. Kennedy 207; Glasgow 202.